| Against Me! Shape Shift With Me | 4.0 |
| Produced with instrumental balance and flair, Against Me!'s seventh LP is centered around the destructive nature of relationships and all the regret that comes with said stories, and Laura Jean Grace treats these themes with emotional potency and brutal honesty. The music itself is exciting and straightforward, Grace's performance as stunning as ever, and the set both diverse and consistent. I do not know what we could want from them at this point of their career which is not in this record. A really impressive rock album. |
| Algiers The Underside of Power | 4.0 |
| This record is absolutely fantastic. By bringing more electronics and industrial influences to their already idiosyncratic gospel-tinged post-punk sound, the band increases the urgency of their music and avoids the trap of the sophomore album. I guess the revolutionary, brutal and extremely left-leaning lyrics are an acquired taste, but Algiers' worldview is far from being a fantasy, and Franklin James Fisher's words add necessary context to the darkness and the mayhem happening around them. This feels much more like an album experience than the self-titled, which perhaps had better individual songs, never hesitating to throw a desolate piano-driven song or a somber instrumental interlude in between the monstrous post-punk tracks. I hope this band is here to stay. |
| Benjamin Biolay Volver | 2.5 |
| Just a bloated and disappointing mess of an album. Sold as a sequel to 2016's Palermo Hollywood, this feels more like a collection of B-sides from that record, mixed with more timely politically-themed songs that are clearly not as inspired by Argentinian music as the last record. Volver just is not the streamlined and focused experience that was the last album, the lyrics are not as well thought-out, and the even more dense instrumental approach does not feel natural in the slightest. Also, Biolay's tuneless vocals do not help. The sad thing is, as a 10-track record, this would probably be really good, if unambitious, because there are some incredible songs on here, most notably in the front half. However, the ill-advised experimentation and lack of inspiration in the second half just do no favor to this record. |
| Benjamin Biolay Negatif | 3.5 |
| Benjamin Biolay Vengeance | 3.5 |
| Benjamin Biolay À l'origine | 3.5 |
| Benjamin Biolay Rose Kennedy | 4.0 |
| Benjamin Biolay Trash Yeye | 4.5 |
| Benjamin Biolay La Superbe | 4.5 |
| Benjamin Biolay Palermo Hollywood | 4.5 |
| As far as french chanson goes today, you don't get better than this. Biolay's seventh full-length takes a sketchbook approach to songwriting, telling the singer's travel to Argentina with a keen eye for detail and real appreciation for the country's culture. His trademark themes of love, loneliness, disenchantment and existential hopelessness are still there but they found a new sense of purpose with this new musical backdrop. Biolay's orchestral arrangements are as engaging as always, and his composition is denser while maintaining a certain catchiness thanks to the more spirited instrumentals. The progression of the record is really thought out as well, using a few interludes, and some surprising digressions. Biolay's voice does not age gracefully, but it fits his material really well. Moreover, his musical ambition and renewed inspiration makes up for the couple of flaws of this masterful record. |
| Bleachers Gone Now | 3.0 |
| This is definitely an interesting follow-up, and yet it feels less accomplished than Strange Desire, and kind of reminds me of fun.'s Some Nights due to its messy, overblown production, and sometimes plain weird stylistic choices. Still, it is undoubtedly worthwhile, there are great songs on here, and I am a big fan of the way Antonoff closes the record. Speaking of him, I am actually fond of his unprocessed intensity here, but enjoy his attempts at autotune crooning far less. I hope this will grow on me during the year even if the lack of thematic and musical diversity kind of wears on me after a while. |
| Car Seat Headrest Teens of Denial | 4.0 |
| Daft Punk Human After All | 3.0 |
| Daft Punk Homework | 3.5 |
| Daft Punk Discovery | 4.0 |
| Daft Punk Random Access Memories | 4.5 |
| Depeche Mode Music for the Masses | 4.0 |
| Depeche Mode Black Celebration | 4.0 |
| Depeche Mode Violator | 4.5 |
| Depeche Mode Ultra | 4.5 |
| Depeche Mode Songs of Faith and Devotion | 4.5 |
| Dionysos Vampire en pyjama | 3.0 |
| Dionysos Happening Songs | 3.0 |
| Dionysos The Sun Is Blue Like the Eggs in Winter | 3.0 |
| Dionysos Western sous la neige | 3.5 |
| Dionysos HaÏku | 3.5 |
| Dionysos Bird 'n' Roll | 4.0 |
| Dionysos La mecanique du coeur | 4.5 |
| Dionysos Monsters in Love | 4.5 |
| Dominique A La Musique | 3.5 |
| Dominique A Vers les lueurs | 4.0 |
| Dominique A Éléor | 4.5 |
| Dominique A L'Horizon | 4.5 |
| dredg Catch Without Arms | 4.0 |
| dredg The Pariah, The Parrot, The Delusion | 4.0 |
| dredg El Cielo | 4.5 |
| Father John Misty Pure Comedy | 4.5 |
| This is an incredibly ambitious singer-songwriter record, and an artistic success in every possible way. I understand why some people find it insufferable, but its self-awareness, insightful look at modern life, and beautifully meditative instrumental approach won me over rapidly. It is a depressing album, as it never shies away from the harsh reality we live in, yet the cynical humor, romantic undertones and Tillman's soothing vocals prevent it from becoming overwhelming. Carefully produced and written, Pure Comedy just impresses me on every level. |
| Florent Marchet Courchevel | 4.0 |
| Florent Marchet Rio Baril | 4.5 |
| Florent Marchet Bambi Galaxy | 4.5 |
| Get Well Soon Vexations | 3.5 |
| Get Well Soon Rest Now, Weary Head! You Will Get Well Soon | 4.5 |
| Get Well Soon The Scarlet Beast O'seven Heads | 4.5 |
| Get Well Soon Love | 4.5 |
| Gorillaz Humanz | 3.0 |
| This is somewhat of a disappointment, but I still think it got way too much shit it did not deserve. Most of the songs are well thought-out, the record is consistent from a thematic and musical standpoint, and drives home well the idea of a dance party on the verge of the Apocalypse. Frankly, it is inventive and interesting, but I just cannot stand the production for the most part. The electronics sound so thin and lifeless in my ears, and I supposed that Albarn and co. really wanted to make a record that sounded vital. So, yes, there is plenty to like here, but sonically there is definitely something lacking. |
| Got A Girl I Love You But I Must Drive Off This Cliff Now | 4.0 |
| This record is really something special to me, a light and colourful vintage pop affair, driven by delicate hip-hop influenced beats, charming piano melodies, and understated orchestral embellishments. This is more sincere and straightforward than tongue-in-cheek ; there is no cynicism in Got a Girl's content. Winstead criticize our superficial view of relationships, as well as the modern patriarchy with her subtle twists on well-known pop music fantasies, but what seems to interest her the most are the emotional issues that come when trying to make a true connection work. Her soothing voice brings a sense of melancholy to the whole thing that helps Dan the Automator's sophisticated arrangements feel much more natural, while the always moving instrumentals add a lot of depth to the simple structures of the songs. And it is incredibly consistent and diverse as well...I could go on and on about the quality on display here, but there are still a few dull moments, namely the repetitive french pop-influenced "There's a Revolution" and straight filler interlude "Da Da Da". Mrs. Winstead has ton of potential as a songwriter and vocalist, and Dan the Automator, on the other hand, shows us he really is an underrated talent. |
| Iggy Pop Post Pop Depression | 4.0 |
| I am not familiar with Iggy Pop's discography outside of his couple of classic 1977 records, but as a big fan of QotSA, I try to listen to most of Homme's projects. His guitar playing on this is exceptional as is his production, which has a nearly flawless mixture of grit and sharpness. Dean Fertita's bass is also exquisite, while Matt Helders' drumming do the job well enough. Iggy's blunt lyrics are usually moving - apart from his ridiculous rant on "Paraguay" - and his delivery nothing short of exciting. Cuts like "American Valhalla", "Sunday" and "Chocolate Drops" are emotive and well-structured, whereas more straightforward rock songs like the two openers really keep the relatively short album moving forward. A deeply satisfying record, even if it is Iggy's swan song ; I would even say that as a reflection on death, it is a solid counterpoint to Bowie's Blackstar, trading experimentation for simplicity, with equally somber results. |
| Jason Isbell The Nashville Sound | 4.0 |
| Isbell continues on his streak of excellence : this is a diverse rock record with the singer-songwriter's usual country flair, both socially conscious and introspective lyrics which are filled with empathy, and consistently strong melodic songwriting. This may be some of his most immediate work to date, yet it contains enough instrumental and emotional depth to guarantee that you will be returning to it again and again. You could make the argument that it is not as lavish as Something More Than Free or as raw as Southeastern but this is another great piece to add to his discography. |
| Juliette Armanet Petite Amie | 4.0 |
| Petite Amie is a truly strong debut French Pop record, full of promise and personality. Armanet seems like the kind of songwriter who is here to stay: during these 12 tracks, she manages to mix lovestruck earnestness with cheeky sensuality, without sacrificing cohesion in both lyrical and musical style. The piano ballads are poignantly gorgeous, the pop tunes are infectious, and there is plenty of satisfying middle grounds in between these extremes. All in all, the singer-songwriter successfully overcomes her 70's and 80's influences and comes out with a fully-fledged sound and style. |
| Kanye West The Life of Pablo | 2.0 |
| This record depress me more than anything I've heard or seen this year...It's not even that bad, but just a generic and purposeless mess. West has clearly been losing his mind for a few years, and The Life of Pablo is the sound of a man finally being swallowed by his own ego. I enjoyed all his other albums up to this point, but most of the songs here are lacking in structure and personality. The guest stars are just bells and whistles used to distract us from the fact that there is no substance here... Only Kanye can get away with sampling a random stupid trap song and calling it a new track. That Nina Simone interpolation on "Famous", a banger with no bass, thin drum machines and weak lines, really got on my nerves as well. However, there are a few highlights musically that keeps this from being a complete failure : the minimalism on "Ultralight Beam" is really quite chilling, even if the lyrical content is lackluster, while "FML" and newest inclusion "Saint Pablo" offer us the last traits of self-awareness of West amongst an ocean of bullshit. I hope that he is still capable of doing something worthwhile, he is a talented and interesting writer when he actually tries, but we need to stop looking at him as : a) a musical genius that can no wrong ; b) the scum of the earth. Kanye West is getting way too much attention, and I cannot think that this coming out as flawed as it came has nothing to do with his exposure... There is so much more out there that deserves the exposure this album got... |
| Kendrick Lamar DAMN. | 4.0 |
| Noted for its more straightforward and less narrative-driven approach, DAMN. is nonetheless an excellent modern rap record. Lamar comes through with even more poignant and somber lyrics, as he is confronted to self-doubt and contradicting values. While the record tackles big ideas and subjects with less precision and complexity than it is usually expected from Lamar, I cannot deny the rapper's impressive delivery and raw emotion. More than anything, the confusion at the center of the record makes it that much more relatable, while the production stays solid throughout. |
| Kirin J. Callinan Bravado | 4.0 |
| Bravado is such a vibrant, audacious and unique pop record... Much brighter, but just as emotive and eccentric as Embracism, it also brings a lot of guest stars to the table, without having them overstep their welcome even once. Very synth-driven and 80's inspired, Bravado still exhilarates with the creative guitar playing of Callinan and his breathtaking vocal performance. Just as painstakingly passionate as it is humorous and fun, this is a highly enjoyable record. |
| Kraftwerk The Man-Machine | 4.5 |
| Kraftwerk Trans-Europe Express | 4.5 |
| Kyle Craft Dolls of Highland | 4.0 |
| LCD Soundsystem LCD Soundsystem | 4.0 |
| LCD Soundsystem Sound of Silver | 4.5 |
| LCD Soundsystem This Is Happening | 4.5 |
| Lemon Demon Spirit Phone | 4.5 |
| The production values have improved greatly since last Lemon Demon recordings, the hooks are sharper, the songs' lyrics - despite seeming ridiculous at first - are drenched in relevant social commentary, and Neil's personality is entertaining from beginning to end. There is a great sense of fun in these 14 songs, even if they are mostly dark and only humorous in the most cruel way possible, all thanks to the new-wave synths and guitars. These elements bring to mind both Oingo Boingo and Devo, but Cicierega is doing a great job mixing his influences with his own musical stylings. I really don't have anything bad to say about this, with its potent instrumentals, its melancholic undercurrents, and its pure generosity. |
| Lorde Melodrama | 4.0 |
| A testament to the power of pop songwriting when done right. Lorde is self-aware of the melodramatic nature of the music she is making here, but she is going all the way nonetheless. She brings all the intensity she can to her vocal performance, and her collaboration with Jack Antonoff creates a tasteful, textured and gorgeous electronically-tinged musical backdrop. Melodrama is admirably consistent, varied and emotive, reveling in the torments of young adult life and relationships, with a great sense of detail and observation. |
| M83 Before The Dawn Heals Us | 3.5 |
| M83 Saturdays=Youth | 3.5 |
| M83 Junk | 3.5 |
| M83 Dead Cities, Red Seas and Lost Ghosts | 4.0 |
| M83 Hurry Up, We're Dreaming | 4.5 |
| Manic Street Preachers The Holy Bible | 4.5 |
| Marianas Trench Ever After | 2.5 |
| This is a true disappointment for me. Masterpiece Theatre is a heartfelt gem, and so is their next album Astoria, but Ever After just is not on the same league. It sounds like a Marianas Trench record but doesn't feel like one, it feels more manufactured than personal, and that's a problem when a pop songwriter like Josh Ramsay is all about the emotions he's trying to convey. His vocal performance is awesome here as well, but he doesn't have remotely anything of substance to sing. The lyrics on this are painfully on-the-nose with the tired fairytale allegories and countless variations on the same "I don't want to lose you" situation : it is like Ever After never acknowledges that it is supposed to tell a story. Plus the possessive endeavors that the narrator shows here are asinine and get on my nerves because they constantly reappear without as many hints of nuance or evolution as I would like to see from a concept album. Ramsay has manage his way to enough great hooks to make the music fairly enjoyable, but never had his songwriting been so influenced by trends, as seen on the gimmicky "By Now" and "Toy Soldiers". Even highlights like the infectious "Desperate Measures" and the beautiful "Porcelain" have their more accomplished counterpoints on Masterpiece Theater, while the poppier sound just feels much more full and expansive on Astoria. Ever After saddens me because it is an average pop record from a far-above-average pop band. Still, the title track is really damn great here. |
| Marianas Trench Masterpiece Theatre | 4.5 |
| I hope Masterpiece Theatre will stand the test of time as a quietly incredible pop-rock album. I'm not too fond of this genre but Ramsay's compositions are just pouring with unabashed emotion. The guitar work is simple but effective, Ramsay's vocal performance amazing as always, and the theatrics never hide the deep substance of the songs. The songwriting tactics subtly avoid the repetition overdose found in most pop music, and the songs just shine from front to back because of it. It is also Marianas Trench's most varied record thematically, tackling issues like conformity, appearance, addiction, nostalgia and the music industry, while maintaining a passionate and romantic feel that makes it simultaneously their most cohesive musically. Pop-rock doesn't get much better than this today as Masterpiece Theatre is filled with clever and emotive commentary as well as irresistible hooks and harmonies... |
| Marianas Trench Astoria | 4.5 |
| Astoria is a superb piece of pop music. Ramsay's melodies have never been more creative and his production, even if it still rlacks the bass organic foundation it seems to really need (especially here in the funkier tracks), is still damn delicious. The rsuites that bookend the record are impressively dynamic in their own right but this wouldn't be such an achievement is the rrest of the record didn't feel that much like an epic journey in which the goal is to grow up and move on. Ramsay's emo-rtinged and wordplay-filled lyrics are great even in the darkest ballads like the nearly-baroque pop gut puncher "Dearly rDeparted" or the piano backed "Forget Me Not", whereas the poppier songs are infectious with an undeniably effective r80's twist. This is the music they want to make as there is no sign of cliches or overused formulas ; it works just because it ris good music, and that saying something when talking of a straightforward pop record today. Shoutouts to the incredible orchestral interludes that build both a sense of tension and wonder, as well as the references to their previous works, which are moving as fuck. |
| Metallica Kill 'Em All | 3.5 |
| Metallica Ride the Lightning | 4.0 |
| Metallica Metallica | 4.0 |
| Metallica Master of Puppets | 4.5 |
| Metallica ...And Justice for All | 4.5 |
| Mew Frengers | 4.5 |
| Morrissey Years of Refusal | 4.0 |
| Morrissey World Peace Is None of Your Business | 4.5 |
| Mr. Bungle California | 5.0 |
| California is an exceptional record, accomplishing even more than their two first records in a shorter cut. The band maintains its creativity while writing tighter, more-melody focused songs, jumping from style to style, reinventing themselves as a pop music smorgasbord. Although the band seems to chasten itself on this record, the twist is in the lyrics, where Patton, Spruance and Dunn offer a stark and unforgiving portrait of our absurd world, by discussing recurring themes like the threat of death, the domination of machines over men, the manipulation occurring in-between humans and the vacuousness of western society with abstract and deeply disturbing imagery. An album this bleak could be overbearing, but the incredible musicianship finds a perfect balance between experimental and accessible : the structures are both focused and unusual and the melodies simultaneously immediate and eerie. Songwriting this adventurous, varied and dynamic should never go unnoticed, and I feel like this band is not praised the way it should be. |
| Muse The Resistance | 2.5 |
| Muse Showbiz | 3.5 |
| Muse The 2nd Law | 3.5 |
| Muse Absolution | 4.0 |
| Muse Drones | 4.0 |
| Muse Origin of Symmetry | 4.5 |
| Muse Black Holes & Revelations | 5.0 |
| Nick Cave and The Bad Seeds Murder Ballads | 4.0 |
| Nick Cave and The Bad Seeds Let Love In | 4.5 |
| Nick Cave and The Bad Seeds No More Shall We Part | 4.5 |
| Nick Cave and The Bad Seeds Henry's Dream | 4.5 |
| Nick Cave and The Bad Seeds The Good Son | 4.5 |
| Nick Cave and The Bad Seeds Tender Prey | 4.5 |
| Nick Cave and The Bad Seeds Push The Sky Away | 4.5 |
| Odezenne Dolziger Str. 2 | 4.5 |
| Panic! at the Disco Death of a Bachelor | 2.5 |
| This is not the great pop album that Urie seems convinced it is. The first three songs are just uninspired attempts at celebratory anthems, and the other more upbeat songs are kind of dull as well, mixing too much energy with no substance whatsoever. There are just none of the heartfelt emotions Urie is capable of on most of this album, the production is so overblown it's ridiculous, and Urie's vocals are really too over-the-top for their own good. However, a couple on songs on here are fantastic. I'm not a fan of the modern Sinatra thing that is going on in "Death of a Bachelor" and "Impossible Year", it feels really forced, but I found "L.A. Devotee" and especially "Golden Days" to be quite powerful songs, with potent emotions. Hope it's not the direction he will take future releases, this guy has potential to be a great pop artist if he stops with all the unnecessary arrogance... |
| Panic! at the Disco Vices & Virtues | 3.5 |
| Panic! at the Disco Too Weird to Live, Too Rare to Die! | 3.5 |
| Panic! at the Disco Pretty. Odd. | 4.0 |
| Paramore After Laughter | 3.5 |
| A solid new wave-inspired emo-pop record with really relatable, if a little too general, lyrics. There is a lot to like instrumentally speaking, with the detailed guitars and synths and sleek production. Hayley Williams tackles anxiety and depression with a renewed maturity, even if she does not really find any closure. I do not have a ton to say, the songs are pretty immediate while still maintaining enough replay value, the whole experience is cohesive yet diverse. They may not shoot for the moon here as they did on their self-titled, but they never needed to. |
| Phantogram Eyelid Movies | 4.0 |
| Phantogram Voices | 4.0 |
| Philippe Katerine Le Film | 4.0 |
| Placebo Meds | 3.5 |
| Placebo Loud Like Love | 3.5 |
| Placebo Sleeping with Ghosts | 4.0 |
| Placebo Battle for the Sun | 4.0 |
| Pulp Freaks | 3.5 |
| Pulp Separations | 4.0 |
| Pulp His 'n' Hers | 4.5 |
| Pulp This is Hardcore | 4.5 |
| Pulp Different Class | 5.0 |
| Pulp We Love Life | 5.0 |
| Radiohead Amnesiac | 3.5 |
| Radiohead Pablo Honey | 3.5 |
| Radiohead In Rainbows | 4.0 |
| Radiohead The Bends | 4.5 |
| Radiohead Hail to the Thief | 4.5 |
| Radiohead The King of Limbs | 4.5 |
| Radiohead A Moon Shaped Pool | 4.5 |
| Radiohead Kid A | 5.0 |
| Radiohead OK Computer | 5.0 |
| Savages Adore Life | 3.5 |
| Savages Silence Yourself | 4.0 |
| Sebastien Tellier Politics | 3.5 |
| Sebastien Tellier Confection | 3.5 |
| Sebastien Tellier My God Is Blue | 4.0 |
| Sebastien Tellier Sexuality | 4.0 |
| Sebastien Tellier L'Aventura | 4.5 |
| L'Aventura is a fantastic piece of work. Here, Tellier explores the emotions of his childhood, only reimagined as if he were born in Brazil, which is treated as an allegorical promised land when only innocence and love exist. A prominent bossa-nova influence is felt all along the journey, but the overall feel is undeniably Tellier's own. The composition is all about melody, and the instrumental flair has never been stronger. Maybe it is because of the fantastic musicians, and gorgeously organic production, which builds a warm atmosphere when synths, bass and strings all have room to breath, but this record just sounds incredible. Some vocal effects are questionable most notably on the more-electronic tinged tracks, but the brillant cohesiveness and nostalgic lyrics save even the most awkward details of the picture here. The tracklisting is varied as well, counting a few magnificent chansons like "L'Adulte" and "L'Amour carnaval", as well as some instrumentally dense moments like opener "Love", and 14-minute centerpiece "Comment revoir Oursinet ?" (an ode to a teddybear that serves as a heartbreaking metaphor for the loss of innocence), and dancier tracks like "Ricky l'adolescent". A deeply satisfying record, and perhaps Tellier's most consistent offering yet. |
| Sigur Ros Kveikur | 4.0 |
| Sigur Ros Takk... | 4.5 |
| Sigur Ros Med Sud i Eyrum vid Spilum Endalaust | 4.5 |
| Sigur Ros Agætis byrjun | 5.0 |
| Sigur Ros ( ) | 5.0 |
| Suede Suede | 4.0 |
| Suede Bloodsports | 4.0 |
| Suede Night Thoughts | 4.0 |
| Suede Coming Up | 4.5 |
| Suede Dog Man Star | 4.5 |
| Swans My Father Will Guide Me Up a Rope to the Sky | 4.0 |
| Swans The Seer | 4.5 |
| Swans To Be Kind | 4.5 |
| The Antlers Burst Apart | 4.0 |
| Burst Apart is a haunting reflection on some of the most twisted and tortured emotions the lack or refusal of love can make us feel. It is unrelenting in its existential darkness, but quite beautiful in its mostly gentle, comforting sound. The emotion break through Peter Silberman's gorgeous vocal melodies, and the eerie, engulfing atmosphere is build with incredible skill. |
| The Cure Three Imaginary Boys | 3.5 |
| The Cure The Top | 3.5 |
| The Cure The Head on the Door | 4.0 |
| The Cure Seventeen Seconds | 4.0 |
| The Cure Faith | 4.0 |
| The Cure Pornography | 4.5 |
| The Cure Kiss Me, Kiss Me, Kiss Me | 4.5 |
| The Cure Wish | 4.5 |
| The Cure Disintegration | 5.0 |
| The Drones Feelin Kinda Free | 4.0 |
| The Drones I See Seaweed | 4.5 |
| The Flaming Lips Oczy Mlody | 3.5 |
| This is another fascinating release from The Flaming Lips. Yes, it is slightly overlong, and the lyrics are uneven and sometimes plain ridiculous, however, the atmosphere is intoxicating, building a true sonic and emotional unity, and the electronic production is detailed and textured. Perhaps as confused and sad as was The Terror, Oczy Mlody is the sound of the band trying to escape their aging and the fear of losing love that comes with it. Finally, from a melodic standpoint, there is plenty to like, even if it kind of feels like a record of ambiance and moments rather than one of well-rounded songs. |
| The Last Shadow Puppets Everything You've Come To Expect | 2.5 |
| This record is unremarkable, especially given the attention these guys get. Alex Turner and Miles Kane both proved to be above average songwriters in the past but the romantic affairs they are writing about here are borderline caricatural and offensively dated as they tend to objectify women sometimes... The orchestral arrangements are well thought-out but the melodies are far weaker than on the debut, and the dramatic presentation is not matched by the mundane lyrics. Songs like "Dracula Teeth", "Bad Habits" and "She Does the Woods" are nearly ridiculous... Fortunately, the two numbers Turner wrote about his current girlfriend are genuine, heartfelt and beautiful love songs : the propulsive "Sweet Dreams, TN" and tender closer "The Dream Synopsis" show the potential still hidden under the bland surface of the rest of the songs. They are better than that... |
| The Last Shadow Puppets The Age Of The Understatement | 4.0 |
| The National Trouble Will Find Me | 4.0 |
| The National Alligator | 4.5 |
| The National Boxer | 4.5 |
| The National High Violet | 4.5 |
| The Smiths Strangeways, Here We Come | 4.0 |
| The Smiths The Smiths | 4.5 |
| The Smiths Meat Is Murder | 4.5 |
| The Smiths The Queen Is Dead | 5.0 |
| The Strokes Room on Fire | 3.5 |
| The Strokes Angles | 3.5 |
| The Strokes Future Present Past | 3.5 |
| The Strokes Is This It | 4.0 |
| The Strokes First Impressions of Earth | 4.5 |
| The Strokes Comedown Machine | 4.5 |
| Thirty Seconds to Mars A Beautiful Lie | 2.5 |
| Thirty Seconds to Mars Love Lust Faith + Dreams | 2.5 |
| Thirty Seconds to Mars 30 Seconds To Mars | 3.5 |
| Thirty Seconds to Mars This Is War | 3.5 |
| Twenty One Pilots Blurryface | 4.0 |
| Weezer Hurley | 2.5 |
| Weezer The Green Album | 3.0 |
| Weezer The Red Album | 3.0 |
| Weezer The White Album | 3.0 |
| This isn't terrible or anything, but it is so frustrating that this kind of record gets that much hype when so many others, better conceived, more cohesive and intelligent pieces of work get criminally unappreciated. This is an empty-headed summer record with mediocre production and instrumental work (the bass is nonexistent here...), filled with vocal hooks so great they hide the lack of emotional depth (especially compared with their flawed but so much more ambitious and fully-realized predecessor). A third of this record is really damn great however : the powerful nostalgia "Do You Wanna Get High?" and poignant midlife heartbreak of "L.A. Girlz" are career highlights for sure, while "Wind in Our Sail" and "(Girl We Got a) Good Thing" add a real melancholy undercurrent to their lightweight optimism. But the whiny couple of closers, and their borderline misogyny (shared with the confusing "Thank God for Girls") leave a bitter taste in mouth. A mixed bag, mostly good, but with flaws too big to overlook. |
| Weezer Maladroit | 3.5 |
| Weezer Everything Will Be Alright in the End | 4.0 |
| Weezer Pinkerton | 4.5 |
| Weezer Weezer | 4.5 |
| Xiu Xiu Plays the Music of "Twin Peaks" | 4.5 |
| Yeasayer Fragrant World | 4.0 |
| Yeasayer Amen & Goodbye | 4.0 |
